Feasibility Study of a Digital Platform for the delivery of UK ... - BFI
Feasibility Study of a Digital Platform for the delivery of UK ... - BFI
Feasibility Study of a Digital Platform for the delivery of UK ... - BFI
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<strong>UK</strong> FILM COUNCIL<br />
affected by <strong>the</strong> ‘earning lifecycle’ issue. All groups <strong>of</strong> films have market shares in <strong>the</strong> non-<strong>the</strong>atrical windows diminished by virtue <strong>of</strong> a<br />
much greater number <strong>of</strong> distributed titles than <strong>the</strong> annual <strong>the</strong>atrical release slate, and all groups <strong>of</strong> films are affected to roughly <strong>the</strong> same<br />
extent.<br />
70%<br />
60%<br />
50%<br />
40%<br />
30%<br />
20%<br />
10%<br />
0%<br />
Share <strong>of</strong> annual revenues taken by <strong>the</strong> top 25 films<br />
released <strong>the</strong>atrically in 2003<br />
58.8%<br />
15.5%<br />
11.4%<br />
7.2%<br />
box <strong>of</strong>fice rental retail online rental<br />
70%<br />
60%<br />
50%<br />
40%<br />
30%<br />
20%<br />
10%<br />
0%<br />
Share <strong>of</strong> annual revenues taken by <strong>the</strong> top 25 films<br />
released <strong>the</strong>atrically in 2004<br />
65.9%<br />
17.8%<br />
15.9%<br />
1.9%<br />
box <strong>of</strong>fice rental retail online rental<br />
As can be expected from a list <strong>of</strong> films that has been selected on box <strong>of</strong>fice success alone, this group <strong>of</strong> films did particularly well in <strong>the</strong><br />
<strong>the</strong>atrical segment, taking in <strong>the</strong> region <strong>of</strong> 60 and 65 per cent <strong>of</strong> total <strong>UK</strong> revenues in 2003 and 2004 respectively. There<strong>for</strong>e <strong>the</strong> top<br />
grossing 25 films took around six times as much revenue as <strong>the</strong> <strong>UK</strong> and specialised films during <strong>the</strong>se two years. At eight and 12 per<br />
cent, this latter group averaged around a 10 per cent market share <strong>for</strong> <strong>the</strong> two years.<br />
But in <strong>the</strong> online rental segment, <strong>the</strong> share <strong>of</strong> annual transactions accounted <strong>for</strong> by top 25 films is not at all dissimilar to <strong>the</strong> share taken<br />
by <strong>the</strong> <strong>UK</strong> and specialised films. The top films <strong>of</strong> 2004 accounted <strong>for</strong> around two per cent <strong>of</strong> transactions from <strong>the</strong> previous 12 months,<br />
which is <strong>the</strong> same share <strong>of</strong> transactions that <strong>UK</strong> and specialised films from 2003 generated. Meanwhile <strong>the</strong> top films <strong>of</strong> 2003 took a seven<br />
per cent share, slightly lower than <strong>the</strong> <strong>UK</strong> and specialised films from <strong>the</strong> following year.<br />
<strong>Feasibility</strong> <strong>Study</strong> <strong>for</strong> a <strong>Digital</strong> <strong>Plat<strong>for</strong>m</strong> <strong>for</strong> <strong>the</strong> <strong>delivery</strong> <strong>of</strong> Independent <strong>UK</strong> films and Specialised films to <strong>the</strong> Home<br />
<strong>UK</strong> Film Council © 2006<br />
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